For most magic acts or rituals there existed counter-magic. it. Amulets were one of the most common protections used in the Greco-Roman world as protection against such fearful things as curses and the evil eye; which were seen as very real by most of its inhabitants. Amulets were often made of cheap materials, but precious stones were believed to have special efficacy. Many discovered thousands of carved gems clearly had a magical rather than an ornamental function. Amulets were a very widespread type of magic, because of the fear of other types of magic such as curses being used against oneself. Thus amulets were actually often a mixture of various formulas from Babylonian, Egyptian, and Greek elements that were worn by those of most affiliations so as to protect against other forms of magic. It is interesting to note that amulets are actually often abbreviated forms of the formulas found in the magical papyri.
Magical tools were thus very common in magical rituals. They were just as important as the spells and incantations that were repeated for each magical ritual. Direct evidence of this - a magician’s kit, probably dating from the third century CE, was discovered in the remains of the ancient city of Pergamon in Asia Minor. The find consisted of a bronze table and base covered with symbols, a dish, a large bronze nail with letters inscribed on its flat sides, two bronze rings, and three black polished stones inscribed with the names of supernatural powers. What emerges then, from this evidence, is the conclusion that a type of permanence and universality of magic had developed in the the Hellenistic period if not earlier. Most scientists agree that although many testimonies about magic are relatively late, the practices they reveal are much older.
The Romans in fact went further then the Greeks in their condemnation and fearfulness that they generate around their concept of magic. Some examples of are found in the writings of Seneca, the philosopher and playwright, and his nephew, Lucan. While doing my research in archives of web analytics company I found something else. Seneca selects some of the most gruesome Greek myths for dramatic treatment and he greatly adds to the negative connotations already applied to the theme of magic, necromancy and the like - where it is given by the mythical tradition and sometimes even where there is little negativity indicated towards magic. From dialogue between wife of the Hercules Deineira and her nurse we learn that it is quite common for jealous wives to consult a witch. It turns out, the nurse, very conveniently, is a witch herself. A great hero such as Hercules should not be able to be influenced by magical means, but in the end he is overcome by the deadly concoction that the evil magic user passes on to Hercules, through deceiving Deianira into the belief that she is giving Hercules a love charm.
In Seneca’s version Medea’s power of hating, which she can switch on and intensify at will is still the dominant theme, but Medea is now given a full cupboard of horrors from which to select the most efficient means of magical destruction. Her magic can even, apparently affect the cosmos, as she claims that she can force down the constellation of the Snake.